C L A S S E S   (L o s   A n g e l e s)

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FILM SCENE PROCESS   This intermediate level class, ideal for actors who have not studied with Peter Kelley previously, offers a focused introduction to the process. Actors work, stage, and shoot two film scenes during the eleven-week session. We work in depth on concepts central to the actor's role development for film, spending two weeks each on parts one and two, below.

ADVANCED FILM SCENE STUDY   This master class, designed for the advanced actor, is offered in ongoing eight-week blocks, during which each actor will take two scenes from first read through shooting. The work is rigorous:  actors receive material in advance, and are expected to arrive the the first session rehearsed and off-book. Admission to this class is on a space-available basis, with priority given to returning students.  Please note that we do NOT give out copies of footage shot in class.

C L A S S   S T R U C T U R E
Both of our New York classes follow the same structure:

can't view clip?  click here for Windows version	PART 1: IN THE CHAIRS. Scenes are worked "in the chairs," face-to-face. Class explores in-depth the choice-making process for film, and the actors' ability to commit truthfully to the script, their partners, their choices.
click here for Windows version	PART 2: SCENES ARE WORKED. Actors show their scene "on its feet" with blocking and activity, and work with the instructor on prop, staging, and choice modifications that will be necessary before shooting the scene.
click here for Windows version	PART 3: SCENES ARE SHOT. Each scene is shot twice, one close-up per actor;  actors not on-camera work as crew or background in each other's scenes. CLIP INCLUDES OF FOOTAGE OF ASSEMBLED SCENE: UNBREAKABLE
click here for Windows version	SCENES ARE VIEWED. The footage is screened. Individual feedback focuses on topics including continuity, relationship between choice and shot, the actor's commitment to choices, understood thought, how the actor is working with the shot to maximize performance, and much more.

I'm often asked by actors what sets my training apart.  Here's the first thing I tell them: imagine your very first read of a script, or your first audition, as "A." Now imagine your day on the set, finally shooting the scene - truthful and specific, subtle and powerful - as "Z." How do you get yourself from A to Z?

That's your process, and a process designed from the ground up for on-camera performance is what I try to teach.